Early life
Ray (born "Ricardo Maldonado") was born in Brooklyn, New York City of Puerto Rican parents. They lived in Hoyt Street. Ray's father, Pacifico Maldonado, was an accomplished guitarist in his native Bayamón, and as such was the Maldonado family's early musical influence.
Ray's parents had him take lessons and he started to play the piano when he was only seven years old. His life-long partnership with Bobby Cruz started five years later in 1957 when Ray played bass in a group led by Cruz. This combination was the beginning of one the greatest salsa duos in the salsa music industry.
He attended the Brooklyn Conservatory of Music, the famed High School of Performing Arts, and the Juilliard School of Music. This experience served to further develop and refine his musical training. In addition, he became well versed in various Latin music genres which were popular at that time the Guajira, the Cha-cha-cha, the Bolero and others.
[edit] Musical career
Ray left Juilliard in 1963, after just one year. He made this choice so that he could get organized and dedicate himself to his own band. This was a year after Cruz joined in as the lead vocalist. In 1964, he signed with Fonseca Records and released his debut album, Ricardo Ray Arrives-Comején. The album included the outstanding hit songs "Mambo Jazz", "Comején", "Viva Richie Ray", "El Mulato", "Suavito", "Pa' Chismoso Tú" and the bolero-cha "Si Te Contaran". The famous pair recorded some of their finest work during the period that they were with the Fonseca label.
In 1966 The group switched to the Alegre label, coinciding with the arrival of the boogaloo, Ray recorded nine albums with Alegre. He was a part of Tico/Alegre Records until 1970, and during that time he produce such hits as "Richies Jala Jala", "Mr. Trumpet Man", "Señor Embajador", "Aguzate" (Gold Record Award winner), "Amparo Arrebato", "Traigo De Todo", and the Spanish version of Frank Sinatra's "My Way", called "A Mi Manera". This song went on to be the most radio played Spanish version of "My Way" during 1970; the song also won the duo a Gold Record Award.
While with Alegre, Ray also recorded two albums for UA Latino. These included "Viva Ricardo" and "El Diferente" (Gold Record Award winner). The band scored a number one hit with the song "Colorín Colorado", while "El Diferente", "Feria En Manizales" and "Ay, Compay!", became number one hits in Latin America.
In 1968, Ray and Cruz had been together professionally for five years, had written most of their songs together, and for the first time in the album Los Durísimos, they shared equal billing in an album cover. This album had such hits as "Agallú", "Pancho Cristal", "Adasa", and "Yo Soy (Babalú)". Since then the band became officially known as Richie Ray and Bobby Cruz.
[edit] The 1970s
In 1970, Ray and Cruz left New York and moved to San Juan, Puerto Rico, for professional and personal reasons. They opened a nightclub, but managing it required too much of their time. Shortly after, they decided to sell the establishment to focus on their artistic commitments. That same year, Ray and Cruz signed with the new Vaya Records label, a subsidiary of Fania Records.
In 1971, they released "El Bestial Sonido de Ricardo Ray y Bobby Cruz", the first ever release on Vaya Records, and was one of their better albums on that label. The album went gold, and it took them to the top of the charts once again. It included hits such as Juan Manuel Serrat's "Señora", the bolero version of the Gardel/Lepera tango "Volver", and the Rubén Blades composition "Guaguancó Triste", as well as the salsa version of James Taylor's "Fire And Rain". This album also included his most impressive and well-known hit called "Sonido Bestial", which has a Latin-flavoured arrangement of Chopin's Etude 10/12, and is considered a classic masterpiece of salsa music.
In 1974 The Dynamic Duo won the title "The Kings Of Salsa" at the "Coliseo Roberto Clemente" in San Juan, Puerto Rico. For a period of 12 hours, 24 bands had competed for the coveted title, and Ray and Cruz emerged triumphant. Contracts started to pour in, requests for interviews and TV appearances, and even movie offers.
[edit] Born-again Christian
All of these things spoke of success, but Ray suffered strong emotional problems during this time. The despair he felt led him into alcohol and drug abuse. He felt tormented by his addictions, however, and wanted to change his life.
In August of that year, he surprised many when he announced that he had become a born-again evangelical Christian. The professed experience radically changed his career and life. At first, Cruz refused to accept Ray's change, but within four months Cruz himself became a convert.
In spite of these dramatic changes, Ray & Cruz fans continued to support the duo. The 1976 release of Reconstrucción went "Gold" (their ninth). The album included their smash hit single "Juan En La Ciudad". They followed with Viven in 1977, De Nuevo 'Los Durísimos' Again (1980), and their final release on Vaya Records, Inconfundibles (1987) in which Ray and Cruz announced their retirement from Salsa music. All of these were successful releases.
Richie Ray and Bobby Cruz lost most of their fans and found opposition among the members of their own faith when they suggested the idea of Christian Salsa. They stood their ground, however, and little by little, they started to regain the confidence of their fans and fellow Christians. They abandoned secular salsa and recorded salsa with a Christian message, reworking many of their worldly hits into religious themes. Some of these include "El Sonido La Bestia", "Más Que Vencedores", and "Aguzate". They also created some new ones, like "Los Fariseos", "Timoteo", and "Sipriano"
The sincerity of their Christian beliefs was not just conveyed in their music. Both Ray and Cruz are pastors, and they have founded more than 20 churches throughout Puerto Rico and the United States. In addition, Ray founded the Salvation Records label as an outlet for Christian music. Then, he continued his music career although his long-time friend, Cruz, had retired. During "retirement", however, both Cruz and Ray released albums with previously recorded numbers and with other bands or singers. Richie Ray is now a pastor in Cape Coral under the CLM fellowship.
In 1991, Ray and Cruz reunited for successful concert appearances in San Juan and again in New York. They reunited again in 1999 for the "Sonido Bestial" concert in the Rubén Rodríguez Coliseum located in Bayamón, they sang some of their early hits together with some of their religious songs and the concert was recorded live. The outcome was so impressive that they were offered a contract by Universal Records, the recording was selected as one of the best recordings of 1999 and helped bring the pair back into the limelight of the Puerto Rican music scene. The pair has continued active in the music scene since.
[edit] Later years
In 2000, Ray and Cruz held a series of concerts that were completely sold out at the Antonio Paoli Hall of the Luis A. Ferre Center of Beautiful Arts in San Juan. They were also honored with a National Day of Salsa in Bayamón. In 2002, Richie Ray and Bobby Cruz were inducted into the International Latin Music Hall of Fame.
In 2003, Ray recorded "Al Ritmo del Piano" for Warner Music Latina. Ray and Cruz continue to make appearances in places such as the Copacabana Club in New York. In December 2005 Ray & Cruz release a totally *new* album under the label Tropisounds the album was recorded in Colombia under the musical direction of its producer by Diego Galé, Que Vuelva La Música has 14 new tracks "El gallo y la vaca", "La bailarina", "Quim Bon Bori", "Vive contento", "Soy boricua" y "Va a llover" are just a few of the titles. The Album was an instant hit in Colombia and Latin America. "El gallo y la vaca" (25th Nov) and "Salsa La Celebracion" (7th two weeks in April) appeared in the top 100 salsa songs charts in North America through 2006. In 2006 Richie Ray and Bobby Cruz won a Latin-Grammy Award for "Lifetime Achievement", this year they also recorded a CD and DVD titled "A lifetime of hits" (live at Centro de Bellas Artes, San Juan, Puerto Rico) which was nominated for a Latin Grammy in the "Best Contemporary Tropical Album" category.
Ray currently lives in Florida with his wife Angie Ray and besides being musically active, he is also busy attending the churches which he and Cruz found in the United States, Caribbean and Latin-America. Ricardo "Richie" Ray is still considered along with Eddie Palmieri and Papo Lucca one of the best and more influential pianists of all times in Salsa music. On August 16, 2008, Richie Ray & Bobby Cruz celebrated 45 years in the musical business, with a concert at José Miguel Agrelot Coliseum.[1] Prior to the presentation, the duo noted that the concert would last at least three hours.[2] The duo has expressed that this might be their last "big scale concert".[3]
Sonido Bestial
Ricardo Ray Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
que ya no servía
oye tú que decías
que ya no salía
ahora mismito mi amigo
yo te vengo a saludar
escucha escucha
oye sonar las trompetas
oye los cueros sonar
Ricardo viene de frente
con su sonido bestial
eh, viene Richie viene virao
como bestia
tocando un tumbao.
(Ahí viene Richie viene virao
como bestia
tocando un tumbao)
ábranle paso que está callao
como bestia
tocando un tumbao
(ahí viene Richie viene virao
como bestia
tocando un tumbao)
mira que dice Maelo
que está asustao
porque viene
tocando un tumbao.
(Ahí viene Richie viene virao
como bestia
tocando un tumbao.)
Ay, tócame Richie
tócame ya
como bestia
toca el tumbao
(ahí viene Richie viene virao
como bestia
tocando un tumbao)
salte del medio
que está endiablao
como bestia
gozando un tumbao
(ahí viene Richie viene virao
como bestia
tocando un tumbao)
ay que viene Richie viene virao
como bestia
gozando el tumbao
(ahí viene Richie viene virao
como bestia
tocando un tumbao)
ay no es Stravinsky
es estrabancao
pero viene
gozando el tumbao
(ahí viene Richie viene virao
como bestia
tocando un tumbao).
(Vamos tocando como bestias
vamos tocando como bestias
vamos tocando como bestias)
viene Richie Ray
les viene a tocar
(vamos tocando como bestias)
ay, ay al son de los cueros
los cueros na ma
(vamos tocando como bestias)
cómo no, cómo no
cómo no, cómo no
cómo no, cómo no
cómo no
(vamos tocando como bestias)
dice Pacheco que viene a gozar
(vamos tocando como bestias)
a la fiesta grande se viene a bailar
(vamos tocando como bestias)
vamos tocando como bestias
(vamos tocando como bestias)
vamos tocando como bestias
(vamos tocando como bestias)
vamos tocando como bestias
(vamos tocando como bestias
vamos tocando como bestias.)
Ricardo Ray's "Sonido Bestial" is a song that celebrates the powerful and irresistible rhythms of salsa music. The lyrics are an ode to the frenzied percussion and brass-driven arrangements that make salsa such an electrifying genre. It begins by addressing those who once doubted the power of this music, but now have no choice but to recognize its impact. The song then builds up to a crescendo of musical phrases, highlighting the virtuosic talents of Richie Ray on the piano, and the infectious rhythms of the horn section and percussionists. Throughout the song, the vocals of Maelo Ruiz provide a counterpoint to the instrumental sections, expressing the passion and joy that the music inspires.
Line by Line Meaning
Tú que decías que ya no servía
Addressing someone who previously thought the music was not good enough
oye tú que decías que ya no salía
Reiterating that the addressed individual did not think highly of the music
ahora mismito mi amigo yo te vengo a saludar
Introducing a new perspective and approach by showing appreciation for the addressed individual
oye sonar las trompetas
Noticing the sound of the horns
oye los cueros sonar
Also noticing the sound of the percussion instruments
Ricardo viene de frente con su sonido bestial
Introducing Ricardo's style of music, which is powerful and dynamic
eh, viene Richie viene virao como bestia tocando un tumbao.
Enthusiastically stating that Ricardo is coming with a style that is especially captivating and energetic
ábranle paso que está callao como bestia tocando un tumbao
Urging people to make way for Ricardo since he is playing his music with incredible passion and intensity
mira que dice Maelo que está asustao porque viene tocando un tumbao.
Highlighting Maelo's reaction to Ricardo's music as being impressed and a bit intimidated
Ay, tócame Richie tócame ya como bestia toca el tumbao
Encouraging Ricardo to continue playing his music in the same passionate and intense manner
salte del medio que está endiablao como bestia gozando un tumbao
Encouraging people to get out of Ricardo's way since he is playing his music with incredible enthusiasm
ay que viene Richie viene virao como bestia gozando el tumbao
Continuing to describe Ricardo's performance as very energetic and enthralling
ay no es Stravinsky es estrabancao pero viene gozando el tumbao
Comparing Ricardo's style of music to Stravinsky's, but emphasizing that Ricardo's unique style of music is just as enjoyable to listen to
Vamos tocando como bestias vamos tocando como bestias vamos tocando como bestias
Encouraging everyone to keep up the same enthusiastic and energetic vibe
viene Richie Ray les viene a tocar
Announcing Ricardo's arrival and his intention to perform his music
ay, ay al son de los cueros los cueros na ma
Enjoying the sound of the percussion instruments
cómo no, cómo no cómo no, cómo no cómo no, cómo no
Expressing affirmation and agreement with everything that is happening in the music
dice Pacheco que viene a gozar
Referring to a fellow performer enjoying Ricardo's music
a la fiesta grande se viene a bailar
Stressing that everyone has come to dance and have a good time
vamos tocando como bestias vamos tocando como bestias vamos tocando como bestias
Reiterating the exuberant and lively vibe of the music
Writer(s): Bobby Cruz, Ricardo Ray Copyright: Fania Music
Contributed by Ellie M. Suggest a correction in the comments below.
@camilotorres189
El tratamiento completo por parte del maestro Richie Ray, aunque hay muchos mas, pero esos son de los mejores.
-Jala Jala
-Aguzate
-Gangan y Gango
-Bomba Camara
-Guaguanco in Jazz
-Come Heres
-Thoroughfare Paris
-Traigo de Todo
-Mi amigo Juan
-Juan Sebastian fuga
-Mirame
-Suite Noro Morales
-El Mulato
-Mi guaguanco
-Traigo de todo
@camilotorres189
No es un caso único, en estas canciones encontraras cosas que van desde el jazz, música afro caribeña hasta el barroco.
-Jala Jala
-Aguzate
-Gangan y Gango
-Bomba Camara
-Guaguanco in Jazz
-Come Heres
-Thoroughfare Paris
-Traigo de Todo
-Mi amigo Juan
-Mirame
-Suite Noro Morales
-El Mulato
-Mi guaguanco
-La atara arache
-la safra
@salsero3982
El puertorriqueño es experto en agarrar un ritmo de guaracha, danza, son, jazz, reggae, plena, bomba o rumba y transformarlo, modificando el sonido, el espíritu y acento de tal manera que el resultado es uno de "aútentica personalidad propia" y de extraordinaroia creatividad músical, como lo fue y es, el caso de La Salsa y el Reguetón.
La nueva orquestación de la "Salsa" estaba constituida de piano y bajo eléctrico, campanas, timbales, congas y bongós que ya eran extensamente utilizados por las orquestas de Puerto Rico y Nueva York, desde los años cuarenta. La sección de viento estaba constituida por tres trompetas y tres trombones, dotación bastante extraña y que perfilaría el sonido particular de la Salsa, hasta nuestros días. La sustitución del Saxofón por el Trombón y del Tres cubano por el Cuatro puertorriqueño, permitío diferenciar bastante, el sonido nuevo, del estilo cubano tradicional. Otros instrumentos eliminados de la orquesta vieja tradicional, lo fueron los Violines, Flautas, Maracas y los Palitos o "la clave".
(*) Nuevos Instrumentos en rojo.
(*) Eliminados en azul
En cuanto a estilo musical la inclusión de los ritmos de Jazz, con Bomba y Plena, los Seises, los Aguinaldos puertorriqueños y la preferencia de la Guaracha sobre el Son, fueron fundamentales en la nueva orquestación y sonido. Lo más fundamental en este cambio era el "timing" o velocidad de esta música que estaba a otro nivel.
@camilotorres189
Richie Ray es un genio, de él te puedo recomendar esto, aunque tiene mucho mas, pero son de las mas complejas y sabrosas de la discografía de este genio, del genero en general, te puedo recomendar Sonora Ponceña que tiene a Papo Lucca que es el otro gran pianista de la salsa junto a Richie Ray, Gran Combo de puerto Rico, Joe Cuba, Hector Lavoe, Willie Colón, Roberto Roena, Ismael Rivera, Ruben Blades, Jhonny Colon, y muchos mas.
-Jala Jala
-Aguzate
-Gangan y Gango
-Bomba Camara
-Guaguanco in Jazz
-Come Heres
-Thoroughfare Paris
-Traigo de Todo
- Yo soy Babalu
-Mi amigo Juan
- La Zafra
-Juan Sebastian fuga
-Mirame
-Suite Noro Morales
-El Mulato
-Mi guaguanco
-Traigo de todo
@luckylouie522
EL PIRATA CHARLIE COTTO TIMBALERO 4:34
@lanuevacantinadejuanchito
luckylouie522 duro duro Lástima que ya falleció
@camilaaguirre8975
luckylouie522 c
.
@camilovargas4324
Mi buena bntura
@luckylouie522
Camila Aguirre c
@juandavidblancodiaz6450
luckylouie522 rafi levi
@shuppyloops
Esta tiene que estar en el top de mejores canciones de salsa de todos los tiempos!! Diomiooooo caballero!!!!
@adrianarodc
Totalmente
@danilousuga410
Mejores canciones de todos los tiempos*
Esto es una obra de arte completa
@marcuskaneve
Esta cancion deberia incluirse como patrimonio mundial de la musica!!!!!!!